Star Dust by Artie Shaw. Arranged by Myles Collins. For big band. Ballad. Medium Difficult. Published by Lush Life (JL.LL-1291).
When it comes to Artie Shaw, Stardust is right up there with Begin the Beguine. We have had many requests to make this chart available, and so are very pleased to offer it for you now. The arrangement is scored for a standard 5444 line-up, with no strings, and it features clarinet, trumpet and trombone. All of the solo lines are written out in full. The reeds are scored CAATT, and all the saxes have clarinet doubles for the closing 8 measures of the chart. However, the two tenors can remain on tenor (playing up an octave) and the alto 2 part has cue notes in addition to the clarinet lines (allowing the player to stay on alto), so that the only sax player who has a necessary double is the alto 1.Ranges:Trumpets . 1-4: . Eb6, Ab5, F#5, D5Trombones . 1-4: . C5, F#4, E4, C4.

When It's Sleepy Time Down South by Ted Heath. Edited by Jon Harpin. Arranged by Bobby Pratt. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1290).
Here is our transcription of the Bobby Pratt version of Sleepy Time Down South, as performed with the Ted Heath band. Bobby was a gifted trumpeter and a great high note player who died tragically young. This chart is an out-and-out Trumpet feature from start to finish, and will need a fine player to make it work. Pratt's solo uses the full range of the instrument, and then some. The last 12 measures of solo part reach super A, though can be played down an octave, but the results are just not the same. Other than the solo, the brass ranges are moderate, with lead Ttrumpet to top D and lead Trombone to B. Alto's 1 & 2 double Clarinets, and there are no other sax doubles. Duration: 3 mins 15 secs / Style: Swing @ 76b.p.m Ranges: Trumpets 1-4: D6, B5, G5, Solo A6Trombones 1-4: B4, G4, Eb4, C4.

Down South Camp Meeting by Benny Goodman. Edited by Alan Glasscock. Arranged by Fletcher Henderson. For big band. Swing. Medium. Published by Lush Life (JL.LL-1288).
Down South Camp Meetin' is another great Fletcher Henderson chart as performed by Benny Goodman's orchestra. The original arrangement has been adapted to bring it up to 8 brass, without losing the feel and flavor of the original. The reeds are scored for solo clarinet, 2 altos and 2 tenors, with all 4 saxes doubling clarinets for the final chorus. Benny's solo has been written out in full, although your player can improvise from the chords provided instead. All dynamics and articulations are here too, to enable your band to reproduce the authentic Goodman sound. A super chart for the swing dance crowd. Swing @ 185 b.p.m.. . . Ranges: Trumpets 1-4: C#6, Bb5, A5, A5 Trombones 1-4: A4, G4, G4, C4.

Hungarian Dance #5 by Glen Gray. Edited by Jon Harpin. Arranged by Billy May. For big band. Swing. Difficult. Published by Lush Life (JL.LL-1287).
Here is a transcription Brahms' Hungarian Dance Number 5, another excellent Billy May chart done for the Casa Loma Orchestra as part of a series of classical works arranged for big band. The chart fairly rips along at 245 beats per minute, and is a high energy piece with plenty of sectional interplay, tonal color and dynamic contrasts. There is a cameo solo for tenor saxophone which is written out in full, but can be improvised if preferred. Lead alto doubles clarinet. Duration: 2 mins 25 secs / Style: Swing @ 245 b.p.m. Ranges: Trumpets 1-4: E6, A5, B5, A5Trombones 1-4: Bb4, A4, A4, D4.

Poet And Peasant by Glen Gray. Arranged by Billy May. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1286).
Billy May wrote many fine charts during his illustrious career, and this is one of them. Written for the talented, and often underrated Casa Loma Orchestra, this arrangement of Franz von Suppe's Poet and Peasant Overture is going to be a challenging blow for even the best bands. It is tough, even at the professional level, with some big asks being made in all sections of the band. The tempo is up, there are frequent changes of rhythmic feel, lots of unison sectional runs where a wrong note will stick out like a sore thumb, and at over 5 minutes it is a long blow. We're not trying to put you off here, just letting you know what to expect. However, if you have the players to cope with the demands of the chart it will be a rewarding experience. All the parts are printed booklet fold, else they would run to 8 pages long and be impossible to keep on the music stands. Both Altos double clarinet. Duration: 5 mins 5 secs; Style: Swing @ 224, 140 and 280 b.p.m. Ranges: Trumpets 1-4: E6, E6, Eb6, F5 Trombones 1-4: C5, Ab4, Bb4, F4.

Quiet Please by Tommy Dorsey. Edited by Myles Collins. Arranged by Sy Oliver. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1283).
A ground breaking chart from the Tommy Dorsey / Sy Oliver stable, Quiet Please was a huge hit in its day, and the first major success for Buddy Rich in his stay with the Dorsey band. This chart is a big drum feature and we have reproduced Rich's original playing on the drum part. The other two major solos - Clarinet (on Alto 1 part) and Trumpet - are left to your players to improvise from the chords provided. This chart is hard, and will require a good band with great soloists to pull it off. However, if your band has the players to cope with it, the result will be a show stopper. Duration: 2 mins 45 secs / Style: Swing @ 320 b.p.m. Ranges:Trumpets 1-4: C6, C6, C6, E5Trombones 1-4: Bb4, Bb4, Bb4, C4.

Somebody Stole My Gal by Benny Goodman. Edited by Myles Collins. Arranged by Fletcher Henderson. For big band. Swing. Medium. Published by Lush Life (JL.LL-1282).
This chart has been transcribed from the 1945 recording that Goodman made for the US Armed Forces Radio Service. We have adapted it to suit a standard 5/4/4/4 lime up whilst keeping the feel and flavour true to the original. This is a fine, up tempo swing chart in true Goodman - Henderson tradition, and makes for a great swing dance number or concert piece. BG's Clarinet lines are written out in full, the Piano solo lead line is transcribed, but we have left the Trumpet solo to your players own improvisation (but have included the melody cue and chards on the part). Saxes are written for CAATT and there are no sax doubles. Duration: 2 mins 20 secs / Style: Swing @ 220 b.p.m. Ranges: Trumpets 1-4: Db6, Bb5, G5, E5Trombones 1-4: A4, Gb4, F4, C4.

Slow Freight by Glenn Miller. Arranged by Bill Finegan. For big band. Swing. Medium. Published by Lush Life (JL.LL-1278).
Buck Ram (founder of the Platters) wrote the tune which Bill Finegan crafted into a Glenn Miller classic. It was one of the few arrangements that Billy May carried over into his own band. Our transcription has been drawn from both, almost identical, versions. As you might expect, it's a trumpet feature, and May's trumpet solos have been written out in full, assigning the solos to the second trumpet part. This chart, whilst not fast, swings like crazy, and the melody riff is infectious. The brass ranges are generally moderate, though all four trombones are written to reach high Bb in the shout chorus. There are a couple of 16th note sax runs which sound tricky, but the notes fall easily under the fingers. There are no sax doubles. Duration: 3 mins 10 secs; Style: Swing @ 140 b.p.m. Ranges: Trumpets 1-4: B5, A6, F#5, D5 Trombones 1-4: C5, Bb4, Bb4, Bb4.

Star Dust by Glenn Miller. Edited by Alan Glasscock. Arranged by Bill Finegan. For big band. Swing. Medium. Published by Lush Life (JL.LL-1277).
Glenn Miller's version of Star Dust is hauntingly beautiful, and a Miller 'must-have' chart. Lovingly transcribed from the original Miller / Finegan arrangement by Alan Glasscock, this version contains all the correct dynamics and articulations, and the piano, tenor and trumpet solos are fully written out 'as-played' by the Miller band. The reeds are scored for AAATT, with alto 1 taking the Clarinet lead. Enjoy! Ranges: Trumpets 1-4: Bb5, Bb5, Bb5, G5 Trombones 1-4: Ab4, Ab4, Db4, Bb3.

Pussy Willow by Tommy Dorsey. Edited by Alan Glasscock. Arranged by Bill Finegan. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1269).
Written and arranged in 1946 by Bill Finegan for the Tommy Dorsey Orchestra, Pussy Willow was a really progressive chart for its time, and hints at the sort of writing style that Finegan would later employ with the Sauter-Finegan band. This is a hard chart, not just because the brass ranges are high (lead trumpet to Eb6, lead trombone to Db5), but also because your players can't always employ the "follow the leader" style of sectional playing. The intro gives a clue to this, as everyone is doing something slightly different. Dynamics are vital to this chart too. The saxes take the lions share of the melody. Sometimes they are unison, sometimes in thirds and other times fully voiced. The only sax double is Alto 2 on clarinet for the intro, and the tenor solo is written out in full. So in summary, it's all a bit tricky, but well worth the effort. Swing @ 150 bpm Ranges: Trumpets 1-4: Eb6, C6, Bb5, G5 Trombones 1-4: Db5, Bb4, Ab4, Ab4.

Oh! Lady, Be Good by Artie Shaw. Edited by Alan Glasscock. Arranged by Jerry Gray. For big band. Swing. Difficult. Published by Lush Life (JL.LL-1251).
Another rousing up-tempo swing chart from the Artie Shaw band. Originally scored by Jerry Gray, this chart has been lovingly transcribed by Alan Glasscock. The only variation from the original is the inclusion of the 4th brass voice in each section, bringing the total to 8. Saxes are scored CAATT and all of Shaw's original solo lines are written out in full (your player can improvise if preferred). Likewise the Tenor solo is scored out and included chords for improvisation too. Please be aware that the 3rd Trumpet has the greatest range requirement of the section, as it is scored to take the lead for the last 8 measures. Shaw recorded this chart a couple of times, and the tempo varied from around 185 up to 220 beats per minute. The arrangement works at the lower tempo quite well, but if your players are up to the task, 220 makes it really cook.Ranges:Trumpets . 1-4: . B5, A5, C#6, E5Trombones . 1-4: . B4, A4, A4, A4.

Golden Wedding by Woody Herman. Edited by Myles Collins. Arranged by James 'Jiggs' Noble. For big band. Swing. Difficult. Published by Lush Life (JL.LL-1249).
What can we say about the Golden Wedding , other than it is a stunning concert vehicle to show off the talents of your Clarinettist, lead trumpet and drummer. It is a classic chart from the Herman band, and in many ways is Hermans' answer to Sing Sing Sing. The music was written in 1887 by Gabriel Marie, originally entitled "La Cinquantaine", and arranged by James Noble in 1940 and re-used for the 1942 Andrews Sisters film "What's Cookin". The Clarinet part is written to reach high A, but we've added a couple of extra measures at the end, in case you player wishes to aim for high C and bring the house down. Saxes are scored for CATTB Duration: 3 mins, 5 secs / Style: Swing @ 195 b.p.m. Ranges:Trumpets 1-4: B5, E5, C5, A4Trombones 1-4: B5, E5, C5, A4.

Bizet Has His Day by Les Brown. Arranged by Myles Collins. For big band. Swing. Medium/Difficult. Published by Lush Life (JL.LL-1245).
Made famous by the Les Brown Orchestra, this tune is one in a series of numbers where a classical theme is given the swing treatment. Other examples are Goodman's Bach Goes To Town, Miller's Moonlight Sonata and Story of a Starry Night. From a piano opening phrase, echoed by trombones, the lower saxes enter with the fugue, the altos vary it, and trumpets are layered on top, to arrive at the tutti swing phrase. Solos for Alto 2, Trombone 2 and Piano. Lead alto doubles clarinet, Baritone doubles alto. Lead trumpet to high C. A moderately easy chart, good to play and really effective in any band library.

S Wonderful by Artie Shaw. Edited by Myles Collins. Arranged by Ray Conniff. For big band. Swing. Medium. Published by Lush Life (JL.LL-1243).
Originally arranged by Ray Conniff for the Shaw band and recorded in January 1945, this excellent chart works so well on many levels. It contains a fair number of innovative arrangement techniques: the opening unison trombone riff, the tenor doubling lead beneath the trumpets, the clarinet leading the trumpets in the middle eight, a five-part combo in the middle and a great shift to full swing feel after Shaws' glorious solo work (which is written out in full). Conniff has taken what is otherwise an arguably slightly dull tune and turned it into a masterpiece. This chart is a must for all Shaw lovers. Style: Swing @ 195 b.p.m. Ranges:Trumpets 1-4: D6, C6, C6, C6Trombones 1-4: A4, Bb4, E4, E4.

Mayhem by Billy May. Edited by Myles Collins. Arranged by Billy May. For big band. Swing. Difficult. Published by Lush Life (JL.LL-1239).
Lovers of Billy May will love this chart too. A punchy 4 measure lick opens the arrangement, and it is re-stated during the chart too, helping to cement the structure of the piece. There are some May trademark sax lines (complete with little scoops), dynamic contrast between sections and passages, and a full chorus improvised Tenor solo in the middle. May employs an arranging trick which harks back to his time with the Miller band - the fade out finish down to pianissimo - with a double forte repeat of the chart intro to wrap the number up. There are no sax doubles.

Mexican Hat Dance by Les Brown. Arranged by Myles Collins. For big band. Swing. Difficult. Published by Lush Life (JL.LL-1237).
This arrangement was written by Ben Homer for the Les Brown Orchestra, and is a quirky and fun chart to play. Everything is as per the original recording - the dixie trio; the piano solo written out; the tenor and trumpet solos are written as played. Abe Most's soaring 32 bar clarinet improvisation is also transcribed note for note. The altos and tenors double clarinets, and baritone doubles alto. The tenor 2 clarinet double is not vital, and can be played on tenor an octave up from written. The main clarinet work is assigned to alto 2 and the trumpet solo is written on 1st trumpet, but cued onto 3rd and 4th too, in case you wish to let them take a rare solo spot.

One Foot In The Groove by Artie Shaw. Edited by Myles Collins. Arranged by Wen D'Aury. For big band. Swing. Medium. Published by Lush Life (JL.LL-1231).
Originally released on the b-side of Shaw's March 1939 Bluebird record B-10202, One Foot in the Groove is a very cool and relaxed swing chart based around a repeating four chord progression. The solo space features trumpet, tenor and clarinet. All solos are writen out as played, and although your players can improvise their own solos from the chords provided. The original solos fit so well with the groove of the chart that you may consider playing them as-written. There is a fair amout of brass sectional plunger work (or fan hats) which, if performed tightly, give a good visual impact for the band. The reeds are scored CAATT; the brass has been augmented to eight voices from the original six. Style: Swing @ 165 b.p.m.Ranges:Trumpets 1-4: Bb5, Bb5, F5, D5Trombones 1-4: Ab4, F4, Eb4, C4.

Nightmare by Artie Shaw. Arranged by Myles Collins. For big band. Swing. Easy [Advanced Clarinet]. Published by Lush Life (JL.LL-1225).
Nightmare was Artie Shaw's theme song and is an out and out clarinet feature. Shaw's solo has been written out completely, but please be aware that it is very tricky to play. Also, an alternative clarinet solo part has been supplied with this chart which retains the essence of Shaw's intent but is much more straighforward to play, making the chart playable by all. The reeds are scored for solo clarinet and 5 saxes (AATTB), and to give you flexibility in the section an extra alto part - the Tenor 1 part transposed - has been included making the saxes AAATB. If you need to drop a sax part because you only have 5 in the section and one playing the solo lead, the alto 1 is the one to lose. Aside from the solo clarinet, all the other parts are easy.

Jungle Drums by Artie Shaw. Arranged by Myles Collins. For big band. Beguine. Medium Easy. Published by Lush Life (JL.LL-1222).
A rare chart from the Artie Shaw band, Jungle Drums is a medium tempo clarinet & tenor Sax feature, and is a throuroughly melodic interpretation of Ernesto Lecuona's original Beguine. Provided that you have a competent clarinet soloist, it is not a difficult chart to play, and should be well within the reach of most bands. The arrangement switches effortlessly between major and minor keys, and is full of dynamic contrast and tonal colour. The Shaw clarinet solos & Tony Pastor tenor solo have been written out in full, though your players can improvise is they wish. The reeds are scored for CAATT, with altos and tenor 2 doubling clarinets for short passages. An extra baritone part has been included, making the section CAATB and giving you more flexibility in deciding which player takes the clarinet solo line.

Lean Baby by Billy May. Edited by Myles Collins. Arranged by Billy May. For big band. Swing. Medium Easy. Published by Lush Life (JL.LL-1221).
Lean Baby was written by Billy May for his own orchestra, and first recorded in 1951. May then used the chart as the theme tune for the band. The arrangement is transcribed "as played" by the BM orchestra, and the tenor and piano solos have been written out in full, though your players can improvise from the chords if they prefer. The correct articulations in the saxes have been written out to help your players achieve the BM 'scooped' sound in the right places. Like most May charts, it is powerful, punchy, occasionally musically irreverent, but always good to play. There are no sax doubles.

Jumpin' At The Woodside by Count Basie. Arranged by Myles Collins. For big band. Swing. Medium. Published by Lush Life (JL.LL-1218).
We are pleased to offer you the much requested Count Basie version of Jumpin at the Woodside. It's fast, it's furious and it's fun. We have written out all of the original solos "as-played", though your players can improvise their own from the chords if preferred. The order of solos is Piano (intro), Tenor, Piano, Trumpet and Tenor again, with the final Clarinet (on Alto 1) & Trombone call and response before the shout chorus. This chart is a great opportunity for your soloists to showcase their talents. Aside from Alto 1 on Clarinet there are no other sax doubles. Style: Swing @ 240+ b.p.m. Ranges: Trumpets 1-4: A5, C6, C5, C5Trombones 1-4: F4, Bb3, G3, G3.

Chloe by Ted Heath. Arranged by Alan Glasscock. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1213).
Chloe was originally a chart made famous by the Tommy Dorsey Orchestra, thanks to a stunning arrangement by Bill Finegan. Structurally and harmonically it was probably ahead of its time, and certainly showed the sort of direction that the Sauter Finegan band was set to take later on. This is a transcription of the Ted Heath version which is essentially the same as the Dorsey / Finegan chart. There are solo features for baritone, piano, trumpet and tenor, with some great trombone and sax passages. The second alto doubles clarinet, to lead over the saxes in their soli and to solo over the band in the final chorus. All of the as-played solos are written out, though your tenor, trumpet & piano players can improvise from the chords if they wish. This is quite an exacting chart to play. Dynamics are crucial and the brass ranges are fairly high, hence this has been graded as advanced.Ranges:Trumpets 1-4 : Eb6, D6, G#5, G5 Trombones 1-4 : C5, A4, Ab4, E4.

Lemon Drop by Woody Herman. Edited by Myles Collins. Arranged by Shorty Rogers. For big band. Swing. Difficult. Published by Lush Life (JL.LL-1209).
This version of Lemon Drop is very closely based around the original Shorty Rogers chart for the Herman band. The form and structure is the same, though the scat band vocal lines have been replaced with unison saxes instead. There is solo space for baritone, trombone, trumpet, piano and alto, and all solos are to be improvised from the chords provided. Please be advised that this is a difficult chart, not least because of the tempo being so fast. The brass is written high too, with all trumpets needing to hit top C6 and trombones 1-3 reaching Bb4. The 4th trombone is a bass. There are no sax doubles. Style: Swing @ 250+ b.p.m.Ranges:Trumpets 1-4: D6, C6, C6, C6Trombones 1-4: Bb4, Bb4, Bb4, Bb3.

El Manisero (Peanut Vendor) by Stan Kenton. Arranged by Myles Collins. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1205).
Transcribed from the 1956 recording, the Peanut Vendor remains one of Stan Kenton's most enduring hits, and is a feature chart for lead trombone (who solos for the first minute of the chart), the trumpet section with their screaming dissonances and for the pianist. The Kenton piano solo has been written out in full and the solo itself is a work of art, showing us what can be done when improvising over just a couple of chords. To add more interest and to build the rhythm backing to the chart, rhythm indications have been written on all the brass parts (except trombone 1) from the opening of the chart, so bring some wood blocks, claves, cabasas and cuicas along. The trumpet lines are not hard, but they are high, with 1 & 2 reaching high E and 3 & 4 reaching high D. If your players don't have this range, please order the 'El Manisero - LL-1229' chart. (It is essentially the same chart transposed down a major 3rd with a shortened piano solo, so the trumpet ranges are limited to high C). There are no sax doubles, the 4th trombone is bass (optional 5th trumpet & trombone parts have been included).